A small time thief from Belfast, Gerry Conlon, is falsely implicated in the IRA bombing of a pub that kills several people while he is in London. Bullied by the British police, he and four of his friends are coerced into confessing their guilt. Gerry's father and other relatives in London are also implicated in the crime. He spends 15 years in prison with his father trying to prove his innocence with the help of a British attorney, Gareth Peirce.[1]
Director: Jim Sheridan Screenplay: Terry George and Jim Sheridan. Based on the autobiographical novel, Proved Innocent, by Gerry Conlon.
Key Scenes
The juxtaposition of Gerry's torture with the birthday celebration outside the door.
The juxtaposition of Giuseppe and Joe McAndrew in the cell with Gerry standing between them. This symbolises the conflict between Gerry and his father. Giuseppe is the feeble, honest father Gerry is 'stuck' with while Joe is the strong, assertive father that Gerry wishes he had. Interestingly, this parallel extends to the naming of the characters with Joe being the English equivalent name to the Italian Giuseppe.
Gerry's arrival at the Scottish prison represents his growth as a man. Rather than simply rebelling through violence as Joe McAndrew would, he takes the route of his father. He resists through non-violence.
How does this film develop my understanding of viewing?
The Final Appeal Scene
In the final appeal sequence, we see camera used to convey the guilt of Detective Dixon (Corin Redgrave ) in the cover-up that led to the conviction of the Guildford Four . Early in the scene, watch how the camera is used at a low, skewed angle to distort the framing of Dixon's face. This use of camera conveys to the audience to turmoil that he must be feeling when he is confronted with the evidence of his wrongdoing.
This entire scene is fictitious, used by the director, Jim Sheridan , the create a tight plot in the spirit of the events despite departing from many of the facts.
In terms of mise-en-scene, Gareth (Emma Thompson) is shot from eye-level with the courtroom audience behind her. This can be read symbolically to signify the way public opinion has shifted in her favour. This scene can be juxtaposed with the earlier scene when Gerry (Daniel Day Lewis) was on the stand. The discomfiture of Dixon echoes that of Gerry earlier when he was trapped by a clever lawyer on the stand.
Gerry's Interrogation
Juxtaposition
The scene of Gerry's interrogation is an excellent example of how a range of viewing conventions come together to shape meaning. In this scene, we are first shown Gerry being tortured through the peephole in the cell door. On the one hand, this distances the viewer from the action; on the other, it intensifies the sense of terrifying isolation being faced by Gerry. In a final demonstration of the perversity of the situation, Gerry's torture is juxtaposed with the birthday celebration happening outside the cell door. What we learn about viewing techniques here is that directors can manipulate scenes to heighten our response. In this scene, we are meant to be repulsed by the callousness of the British police that could be going about life without questioning the morality of the torture going on behind closed doors. For our context, this has parallels with the way we are able to ignore the torture that is occurring at the hands of America and its allies in the "War on Terror".
Two Fathers
In the Name of the Father takes many liberties with the facts surrounding the wrongful imprisonment of the Guildford Four and the Maguire Seven. It is important to note that the function of feature film, even when it is based on a true story, is not to retell the story in precise detail; rather, it is to represent the events in a form that meets the expectations of the audience, who are expecting a film narrative. The most notable departure from the facts is the decision to have Gerry and his father serving their sentences in the same prison cell. For obvious reasons, the British government would not imprison terrorist conspirators in the same cell. In fact, Gerry and Giuseppe were placed in separate prisons.
The placement of the two in the same prison in the film allows the director to use the narrative as an exploration of the complexities of the father/son relationship. This is a universal theme that can be found in numerous texts. Gerry's growth as a character is achieved as he reconciles his conflicts with his father. The inclusion of the fictitious character, Joe McAndrew (Don Baker) creates a dilemma for Gerry that goes to the heart of the father/son theme. Joe represents the father Gerry wishes he had, while Giuseppe is the father he is burdened with. Whereas Joe is strong, wilful and courageous, Giuseppe is weak and feeble in the eyes of his son. The scene depicted above, when Giuseppe rejects the help of Joe in prison, demonstrates the way cinematography and mise-en-scene can coalesce to visually represent themes in film. Here, Gerry is literally caught between the two men, symbolising his inner conflict. Day-Lewis's performance reveals Gerry's anger at his father at this point. His hunched posture reminding the audience of the anger that resides deep in him.
The construction of the duality of Joe and Giuseppe begins with their names. Joe is the Anglicised version of Giuseppe - the normal name compared to the "odd" name of the father. In terms of casting, Joe is the same height and build, and has a similar haircut. The two could easily pass as brothers, which points to the way the audience is encouraged to view them as each other's mirror. It is when Joe murders the prison guard that Gerry resolves his disappointment in his father, seeing his apparent weakness as a source of moral strength and courage. This is a turning point for Gerry in the film's narrative.
What students should gain from this is an understanding that films represent ideas through the use of camera as well as through action. An astute student of film will be able to engage with the layers of meaning made available by being attuned to the subtleties of camera use, scene construction and post-production techniques.
How does this film enrich my understanding of my world?
Guantanamo Bay
Whether or not the accused terrorists at Guantanamo Bay are guilty is irrelevant. In the Name of the Father forces us to question the way we allow such facilities to exist. Through Daniel Day-Lewis's portrayal of Gerry Conlon, we sympathise with a character whom we might have gladly allow to be sent to prison as we get swept up in the hysteria of a terror panic.
Muhamed Haneef
The events surrounding the detention of Dr Muhamed Haneef in Australia eerily echo the events surrounding the film, In the Name of the Father. What this means is that by viewing texts, we formulate ideas about the world. We use the films we view as a way of making sense of real world events. A well constructed film encourages the viewer to identify with the experiences of the main characters in a way that news reporting simply cannot.
Table of Contents
Synopsis
A small time thief from Belfast, Gerry Conlon, is falsely implicated in the IRA bombing of a pub that kills several people while he is in London. Bullied by the British police, he and four of his friends are coerced into confessing their guilt. Gerry's father and other relatives in London are also implicated in the crime. He spends 15 years in prison with his father trying to prove his innocence with the help of a British attorney, Gareth Peirce.[1]
Cast and Crew
Daniel Day-Lewis as Gerry Conlon
Pete Postlethwaite as Giuseppe Conlon
John Lynch as Paul Hill
Mark Sheppard as Paddy Armstrong
Beatie Edney as Carole Richardson
Emma Thompson as Gareth Peirce
Don Baker as Joe McAndrew
Corin Redgrave as Inspector Robert Dixon
Gerard McSorley as Detective Pavis
Frank Harper as Ronnie Smalls
Jamie Harris as Deptford Jim
Director: Jim Sheridan
Screenplay: Terry George and Jim Sheridan. Based on the autobiographical novel, Proved Innocent, by Gerry Conlon.
Key Scenes
How does this film develop my understanding of viewing?
The Final Appeal Scene
In the final appeal sequence, we see camera used to convey the guilt of Detective Dixon (Corin Redgrave ) in the cover-up that led to the conviction of the Guildford Four . Early in the scene, watch how the camera is used at a low, skewed angle to distort the framing of Dixon's face. This use of camera conveys to the audience to turmoil that he must be feeling when he is confronted with the evidence of his wrongdoing.
This entire scene is fictitious, used by the director, Jim Sheridan , the create a tight plot in the spirit of the events despite departing from many of the facts.
In terms of mise-en-scene, Gareth (Emma Thompson) is shot from eye-level with the courtroom audience behind her. This can be read symbolically to signify the way public opinion has shifted in her favour. This scene can be juxtaposed with the earlier scene when Gerry (Daniel Day Lewis) was on the stand. The discomfiture of Dixon echoes that of Gerry earlier when he was trapped by a clever lawyer on the stand.
Gerry's Interrogation
The scene of Gerry's interrogation is an excellent example of how a range of viewing conventions come together to shape meaning. In this scene, we are first shown Gerry being tortured through the peephole in the cell door. On the one hand, this distances the viewer from the action; on the other, it intensifies the sense of terrifying isolation being faced by Gerry. In a final demonstration of the perversity of the situation, Gerry's torture is juxtaposed with the birthday celebration happening outside the cell door. What we learn about viewing techniques here is that directors can manipulate scenes to heighten our response. In this scene, we are meant to be repulsed by the callousness of the British police that could be going about life without questioning the morality of the torture going on behind closed doors. For our context, this has parallels with the way we are able to ignore the torture that is occurring at the hands of America and its allies in the "War on Terror".
Two Fathers
In the Name of the Father takes many liberties with the facts surrounding the wrongful imprisonment of the Guildford Four and the Maguire Seven. It is important to note that the function of feature film, even when it is based on a true story, is not to retell the story in precise detail; rather, it is to represent the events in a form that meets the expectations of the audience, who are expecting a film narrative. The most notable departure from the facts is the decision to have Gerry and his father serving their sentences in the same prison cell. For obvious reasons, the British government would not imprison terrorist conspirators in the same cell. In fact, Gerry and Giuseppe were placed in separate prisons.
The placement of the two in the same prison in the film allows the director to use the narrative as an exploration of the complexities of the father/son relationship. This is a universal theme that can be found in numerous texts. Gerry's growth as a character is achieved as he reconciles his conflicts with his father. The inclusion of the fictitious character, Joe McAndrew (Don Baker) creates a dilemma for Gerry that goes to the heart of the father/son theme. Joe represents the father Gerry wishes he had, while Giuseppe is the father he is burdened with. Whereas Joe is strong, wilful and courageous, Giuseppe is weak and feeble in the eyes of his son. The scene depicted above, when Giuseppe rejects the help of Joe in prison, demonstrates the way cinematography and mise-en-scene can coalesce to visually represent themes in film. Here, Gerry is literally caught between the two men, symbolising his inner conflict. Day-Lewis's performance reveals Gerry's anger at his father at this point. His hunched posture reminding the audience of the anger that resides deep in him.
The construction of the duality of Joe and Giuseppe begins with their names. Joe is the Anglicised version of Giuseppe - the normal name compared to the "odd" name of the father. In terms of casting, Joe is the same height and build, and has a similar haircut. The two could easily pass as brothers, which points to the way the audience is encouraged to view them as each other's mirror. It is when Joe murders the prison guard that Gerry resolves his disappointment in his father, seeing his apparent weakness as a source of moral strength and courage. This is a turning point for Gerry in the film's narrative.
What students should gain from this is an understanding that films represent ideas through the use of camera as well as through action. An astute student of film will be able to engage with the layers of meaning made available by being attuned to the subtleties of camera use, scene construction and post-production techniques.
How does this film enrich my understanding of my world?
Guantanamo Bay
Whether or not the accused terrorists at Guantanamo Bay are guilty is irrelevant. In the Name of the Father forces us to question the way we allow such facilities to exist. Through Daniel Day-Lewis's portrayal of Gerry Conlon, we sympathise with a character whom we might have gladly allow to be sent to prison as we get swept up in the hysteria of a terror panic.Muhamed Haneef
The events surrounding the detention of Dr Muhamed Haneef in Australia eerily echo the events surrounding the film, In the Name of the Father. What this means is that by viewing texts, we formulate ideas about the world. We use the films we view as a way of making sense of real world events. A well constructed film encourages the viewer to identify with the experiences of the main characters in a way that news reporting simply cannot.